The throwback horror genre travels beyond the limits of time and space in "Insidious: Chapter 2," where one evil spirit haunts a family using two tin cans connected with a string. A video cassette recorder and rocking chair horses also fit into the plot. Rarely has a film set in the present day used so many products from the old Sears catalog.

"Saw" co-creator James Wan continues his mission to distance himself from the torture porn genre by making scary movies that rely on practical effects, smart direction and an unapologetic first-date-friendly PG-13 sensibility. "Insidious 2" has a few memorable frights, a willing cast and a professional crew behind the camera. But even as it succeeds in the moment, it's hard not to think the sequel is entirely unnecessary. We'd rather see Wan and his co-conspirators put out something new.

Something like "The Conjuring," the Wan-directed 2013 release that was the biggest unexpected pleasure of the summer movie season. That film, set in the 1970s, was even more retro; capturing the feel of a movie from "The Exorcist" era without seeming like an outright theft.

"Insidious 2" is just more "Insidious" minus the element of surprise. We're reintroduced to the Lambert family, whose father and eldest son have the ability to "astral project" — entering a limbo-like zone filled with dry ice and angry demons. This time, we also learn about Josh Lambert's past, discovering his childhood possession, captured on video that was surprisingly high def for 1986. The cans-on-a-string are part of the fresh hell for eldest son Dalton, and didn't he take enough abuse in the last film?

Fans of the first "Insidious" will walk into the theater knowing (1.) Which family member is possessed; and (2.) The nature of the supernatural forces. Screenwriter Leigh Whannell tries to compensate by simultaneously adding back story and new drama. But it feels a little like sandwiching a cupcake with two waffles sprinkled with powdered sugar.

If "Insidious 2" exists solely because "Insidious 1" made a ton of money, then at least credit Wan for making quality control a priority. A lesser filmmaker would have farmed out the project to a protege with limited talent, and raked in a boatload of executive producer cash for doing minimal work. Wan once again stays engaged, and helps his cause with some excellent hires.

Much like "The Conjuring," the camera work becomes more urgent and threatening as the horror builds, as if one of the demons is handling the cinematography. Joseph Bishara's piano-heavy score is appropriately menacing, and ties into the plot in a subtle but meaningful way.

Production design is vital for a good horror film, and Jennifer Spence does some exemplary work. Even if there wasn't a single ghostly presence in this film, the green and black paisley wallpaper would have brought chills to the steeliest moviegoer.

The effort extends to some of the actors, particularly Patrick Wilson, who is convincing as the possessed dad. We also get a strong performance from Barbara Hershey, as the resourceful Grandma Lambert. And the ghosts and demons actually have to act, since Wan shuns computer effects in favor of people with too much lipstick and not enough melatonin. Linda Blair would be proud.

None of the above should make us look forward to "Insidious: Chapter 3." (Which will have to come after Wan directs "Fast & Furious 7," and, presumably, "The Conjuring 2.")

If we must live with pointless sequels, it's always better when a pro is in charge.